Skip Nav Destination
Close Modal
Search Results for
character
Update search
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
NARROW
Format
Subjects
Journal
Article Type
Date
Availability
1-20 of 662 Search Results for
character
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
1
Sort by
Image
in “Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2023
Figure 1. A Smurf inside the apartment instructs Akerman's character to “Go Home!” Saute ma ville (dir. Chantal Akerman, Belgium, 1968)
More
Image
in “Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2023
Figure 3. Akerman's character picks up a bouquet, sets a small fire above the stove, and comes to rest. Saute ma ville (dir. Chantal Akerman, Belgium, 1968)
More
Image
in What's Your Color? Mood Conditioning the Postwar Domestic Interior
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2023
Figure 8. “Character Analysis through Color,” Paint Merchandising Council, 1956. Box 7, Folder 1, Faber Birren Papers, Robert B. Haas Family Arts Library, Yale University
More
Image
in Archaeological Narrative; or, Nostalgic Fascination with the Obsolete in the South Korean TV Drama Reply 1988
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2024
Figure 2. The alley that helps the characters function like a family. Reply 1988 (tvN, 2015–16)
More
Journal Article
Camera Obscura (2013) 28 (3 (84)): 67–101.
Published: 01 December 2013
... Schmid), Fränze (Helen Vita), Cilly (Annemarie Düringer), Trude (Irm Hermann), the Whore of Babylon (uncredited), the waitress (Elke Haltaufderheide), and Mieze (Barbara Sukowa). Across successive episodes, these minor characters offer a version of seriality inside the serial form that is Berlin...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 63–93.
Published: 01 September 2020
..., nonplayer characters, framing devices, or divinities, players regularly hear voices without seeing their source. While many games leave voices off-screen for reasons of technical and economic constraint, developers may restrict voices in this manner for other reasons as well—or at least with other...
Journal Article
Camera Obscura (2023) 38 (1 (112)): 1–29.
Published: 01 May 2023
...Patrick Flanery Abstract This article considers how The Ice Storm (dir. Ang Lee, US, 1997) reframes the politics of Rick Moody's novel of the same name and works via a network of symbols to align character Elena Hood (Joan Allen) with Hillary Clinton, suggesting an analogy between the scandals...
FIGURES
| View All (4)
Journal Article
Camera Obscura (2009) 24 (2 (71)): 161–183.
Published: 01 September 2009
...Ewan Kirkland This article explores construction and representation of masculinity in the “survival horror” video-game series Silent Hill . Noting the dominance of traditional male characters and masculine themes within the video-game medium, the Silent Hill franchise is seen as deviating from...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 1–39.
Published: 01 December 2009
... adorable characters both naturalized and eroticized the racial exploitation these films celebrated. For in her performances of complex racial, sexual, and gendered masquerades, Temple's characters engaged in forms of passing that were crucial to the domestication of blackness during this period. Camera...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
...Anthony Reed This article situates Spike Lee's neglected collaboration with Suzan-Lori Parks, Girl 6 (US, 1996), as part of a broader shift in Lee's understandings of race in the neoliberal era. Its main character, simply called Girl 6 (Theresa Randle), aspires to be an actress, but after...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 175–183.
Published: 01 September 2017
... the assumed heteronormativity of the characters in the script as well as by not limiting who can be cast as each character: a straight white man, for instance, can find himself playing a queer woman of color. Coffee troubles the idea of the gaze in the sense of being a transparent production wherein...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 185–192.
Published: 01 September 2017
... the usual flow of information between the player and their player-character. In this text-based Twine game, players assume the role of an unnamed, unknown “you” as you spend a final moment with your lover. Made for the prompt “Ten Seconds,” its most notable feature is an omnipresent ten-second timer. When...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 47–67.
Published: 01 May 2008
...Michael DeAngelis With Russell Crowe character attributes that might code the star as a narcissistic diva are recontextualized, constructing an authentic figure whose occasional acting out enhances his masculinity rather than feminizing him. This article contrasts the notion of the performer...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 103–127.
Published: 01 December 2018
... through the characters she develops and the milieus that dominate her cinema. While there is an absence of glamour, romance, and sentimentality, the characters also do not dwell in a state of material precarity; the insecurity they face is instead personal and social. Three tendencies distinguish Ade...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 1–35.
Published: 01 September 2020
... photographs, seen as the public culmination of Jenner’s gender transition, and Almodóvar’s fictional film, centered on the forced surgical sex reassignment of one of its characters, both comment on the role of technically produced images in constructing visually articulated bodily materiality as central...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 7–33.
Published: 01 December 2023
...Gabriel Bloomfield Abstract This essay reckons with the representation of queer sexualities and modes of reading in Jonathan Lynn's Clue (US, 1985). The film, originally a box office flop that has become a cult classic, deploys the character of Mr. Green to concentrate and dispel its queer energies...
FIGURES
| View All (5)
Journal Article
Camera Obscura (2024) 39 (3 (117)): 121–147.
Published: 01 December 2024
.... As Riot segues to its first in medias res scene of the first Mardi Gras, with a dissolve from a protest banner in the archival footage to its fictional reproduction, we begin to grasp the implications of the telemovie's brief opening exposition for the characterization of its gay characters...
FIGURES
Image
in Re witched : Retextuality and the Queering of Bewitched
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2021
Figure 2. LOGOtv's Facebook posts joke about the queer identities of Bewitched 's stars and characters, while FamilyNet's posts emphasize the family-friendly patriarchal nature of the show, highlighting here that its signature opening animations were made by a kid-friendly animation studio.
More
Image
in Regretting Nothing, or Regretting Everything? Postfeminism, Femininity, and Regret in Miss Austen Regrets
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2024
Figure 2. Left to right: Fanny Austen Knight (Imogen Poots), Jane Austen (Olivia Williams), Cassandra Austen (Greta Scacchi). This image exemplifies the perspective that the titular “Miss Austen” refers to each of the characters. ( Miss Austen Regrets , dir. Jeremy Lovering, UK, 2007)
More
Journal Article
Camera Obscura (2008) 23 (3 (69)): 137–157.
Published: 01 December 2008
...David Copenhafer In David Lynch's Blue Velvet , music is a key component of the film's intricate staging of gender and sexuality. “Mourning and Music” interprets four scenes in which characters either sing songs or imitate singing. It argues that the unsettling appearance of gender and sexuality...
1